Have you been looking for a fun way of memorizing the 72 melakarta names and numbers, finding them “mind bending” rather than “mind boggling” until now?
Here’s one method that may work – if you are ready to practice it for a few minutes every day; like passing time while waiting in queues or commuting, or unable to fall asleep. Silently so … such is the beauty and usefulness of the melakarta system.
STEP 1 Take today’s date (or your favorite musician’s birthday) in the format you commonly use (DD-MM or MM-DD, here we’ll use DD-MM)
12-07 for 12 July
STEP 2 Pick the corresponding mela numbers from the list available here (a special gift for all motivated learners):
There you look up the number pair for any given date, for instance:
12 = Rūpāvati R-P=21><12 07 = Sēnāvati S-N=70><07
Tip: if interested, find more explanations on page 2 to understand how the Kaṭapayādi sūtra is being applied to the names of 72 mēḷakartā rāgas (“melas”).
STEP 3 Remember how “yesterday … your troubles seemed so far away?”
11-07 for 11 July … so keep moving forward and backward after getting today’s numbers and names right, to start with.
You got it, all ready to go for days and weeks to come: because that date, too, is another day; one bound to become a memorable one with the help of the Boggle Your Mind with Mela (BYMM) method.
STEP 4 What’s next? Here are some suggestions:
find the actual DD-MM date in the Western calendar which corresponds to “72 October 2021”
or any other DD-MM date you consider booking a ticket and attend the Chennai December Season
if motivated to do so: memorize the entire list of 72 melas in batches of 10 (rather than 6): you’ll spot the patterns more easily
apply mela numbers in order to remember daily matters: birthdays, holidays or passwords – you name it
print the above PDF-attachment, then fold the sheet along the lines “accordeon style”: this yields a neat, visiting card size BY-MM paper-app (battery free for 24/7 use)
use it as a gift for fellow music lovers interested in this subject
Just one more thing as regards general well being Although it seems unlikely you didn’t know yet: remember how good walking is for both, one’s mental and physical health? For our brains and moods … even for learning all the 72 mela ragas by heart in a stress-free manner.
Tip This website offers many resources for free (see menu for details): to learn more about the above mentioned composers and scholars, the places where they flourished; and about the musicians who tread in their footsteps today.
Enjoy your exploration of a wonderful music!
The theorist and composer of the 17th-18th c. credited with establishing Vijayanagar culture at the Nāyak court of Tanjāvūr; author of a treatise titled Samgraha cūdāmani[↩]
Anki is a program which makes remembering things easy. Because it’s a lot more efficient than traditional study methods, you can either greatly decrease your time spent studying, or greatly increase the amount you learn.
Anyone who needs to remember things in their daily life can benefit from Anki. Since it is content-agnostic and supports images, audio, videos and scientific markup (via LaTeX), the possibilities are endless. For example:
Akshara Samskriti is the daughter of Carnatic musician Kiranavali and scientist-philosopher, Vidyasankar Sundaresan. This video was recorded on Nov 1, 2013, when Akshara was 4 years old. It was originally in multiple parts for educational video compilation, and has been put together as a single video here.
The 72 Melakartas are regarded as the parent scales in Carnatic music and serve the purpose of grouping similar sounding ragas/scales in the same category. It also helps create new scales which can then potentially evolve into full-bodied ragas.
The idea of classifying ragas that sound similar has existed over many centuries and were taken to a more definitive stage by 17th century musicologist Venkatamakhin. It was fine tuned further by Govinda to its present and more popular form. Nevertheless, the Melas propounded by Venkatamakhin continue to stay in vogue primarily through the compositions of well-known Carnatic composer, Muttuswami Dikshitar.
The world of sound is a tiny bubble in the silence of the infinite. The universe has its own language of gesture; it talks in the voice of pictures and dance. Every object in the world proclaims in the dumb signal of lines and colours, the fact that it is not a mere logical abstraction or a mere thing of use, but it is unique in itself, it carries the miracle of its existence.–Rabindranath Tagore quoted by Dinkar Kowshik in
Doodled Fancy, Visva-Bharati, Santiniketan 1999, p. 8
A scale – mēla in Carnatic or thāt in Hindustani music – isn’t a raga yet: it is no more than an imaginary arrangement of notes for the formation of “parental scales”. From 72 Carnatic mēla scales and their 10 thāt counterparts in Hindustani music, a wide range of major and minor ragas are thought to have been “derived” over a period of several centuries.1
Thinking of a particular scale enables musicians and learners to distinguish ragas from one another, which became increasingly useful as hundreds of other ragas came to performed on a regular basis.2 Joep Bor aptly defines a raga “as a tonal framework for composition and improvisation; a dynamic musical entity with a unique form, embodying a unique musical idea.”3
For this purpose 7 notes occupy certain positions within an octave as seen in the above illustrations. These notes are framed by an 8th note (“octave”) which corresponds to the basic note, now placed in the higher range. Listening carefully to the middle strings of tambura will reveal this higher note (tāra sa).
To understand their relative positions watch the above slideshow repeatedly. Nevertheless the basic idea underlying all of India’s “classical” Indian music traditions – the proverbial “seven notes” (saptasvara) as basis for melody – remains untouched.
Note: The above series of images illustrates 16 out of a total of 72 melas with the names of their corresponding melakarta ragas, including the first six melas (01. – 06.) and the last one (72.); and several others that have long played a prominent role concerts either as melakarta ragas (i.e. featuring all the seven notes) or derivatives known as janya raga (08., 15., 28., 29., 34., 36., 56. 57. and 65). The latter may feature less than seven notes, be characterized by “zigzag” patterns or notes not found in their parental scales.
So a total of 12 positions are available in the South Indian mela system whereby the basic note “sa” and its fifth “pa” are the starting points of two series of 4 notes:
sa-ri-ga-ma & pa dha ni (upper) sa
reversed and sung for the sake of memorization as follows:
(upper) sa-ni-dha-pa & ma-ga-ri-sa
Please note that – unlike in western “classical” music – the actual pitches are never given but chosen to suit one’s own vocal range or a particular instrument (e.g. flute and vina which come in different sizes and tonal ranges). This means: sa may correspond to “C” on your keyboard or for a male voice (just like “D”); but for a female voice, sa is more likely to correspond to “F” or “G” instead.
Last but not least, singing or playing a raga entails attention to subtle tonal shades just as embellishments (gamaka) as heard in a proper concert performance. So what you hear isn’t merely “a clever combination of notes” derived from some scale or other: raga based music is all about musical – even lyrical – expression, carefully regulated by certain rules and practiced in accordance with well established patterns.
In the meantime, an ever growing diversity accelerated the search for effective teaching methods suited to raga based music. In South Indian music this was achieved with the help of the melakarta scheme (72 scale abstract patterns).
Even today “tune smiths” continue to fill in the blanks left by their revered predecessors, including novelties inspired by Beethoven’s most beloved piano piece worldwide (you guessed it …)!
Interestingly the 72 mela system came to serve a dual purpose, one not found in other music traditions as regards scope: in addition to the intention proclaimed by its “inventor” Venkatamakhin in the late 17th century, namely to widen the scope for musical expression, it became a mnemonic system (aid to memory) for musicians and teachers alike.
A glance at any music textbook and most song collections of Carnatic music will show how this was achieved since music publishing began to flourish in the early 19th century.
For a more detailed application, listen to the 72-Melaragamalika rendition by Smt Kiranavali’s students at Cleveland Aradhana 2014_Part 1; click/bookmark part 1 of this recording here; and click here for Part 2 >>
More about the 72-Melaragamalika sung by Smt Kiranavali’s students
The entire ragamalika [by Maha Vaidyanatha Iyer (1844 – 1892 AD)] is set to Adi tala. The Pallavi is sung in Sriragam, followed by some beautiful jati phrases in Tillana style. There is no Anupallavi and the Charanam has 72 lines, one for each melakarta, with the raga mudra skillfully inscribed in each line. At the end of each mela raga, there is a Chittaswara, and further, to enhance the beauty of the composition, his brother Ramaswami Sivan added additional Chittaswaras at the end of each line, whose poorvanga (first half) is in the same raga, but the uttaranga (second half) is in the next raga. At the end of each Chakra (6 raga cycle), the Pallavi is repeated. At the commencement of the Prati madhyama series, the jati phrases are also sung. This is not a piece we hear often in concert platforms. Occasionally in the past, one or two Chakras of this lengthy composition has been rendered by Musiri Subramanya Iyer and M S Subbulakshmi. Recently (June 1989), the Gramaphone Co. of India (HMV) released an album (LP No. ECSD 40552), and simultaneously a 60-minute casette (No. HTCS 03B 3346) under the title ‘Mela Ragamalika Chakra’, where M S Subbulakshmi has melodiously rendered this divine ragamalika, with all the above-mentioned features and Chittaswaras.
Most ragas cannot be said to actually have been “derived” from any pre-existing scale but instead, they came to be associated with a particular “parent scale” much later on, as seen in ongoing debates among music scholars and performers.[↩]
There are many reasons for such an increase in the number of ragas since the late 19th century; this includes greater pride in India’s cultural heritage displayed by a growing middle class: men – and increasingly women – willing devote their leisure time to an art formerly seen as the domain of specialists patronized by temples, courts and merchants for rituals and festive occasions; and with the arrival of the printing press, music primers became a lucrative proposition for scholarly musicians besides being affordable and time saving for non-professional learners.[↩]
“As well as the fixed scale, there are features particular to each raga such as the order and hierarchy of its tones, their manner of intonation and ornamentation, their relative strength and duration, and specific approach. Where ragas have identical scales, they are differentiated by virtue of these musical characteristics. […] Most importantly, a raga must evoke a particular emotion or create a certain ‘mood’, which is hard to define, however. As the term raga itself implies, it should ‘colour’ the mind, bring delight, move the listeners and stimulate an emotional response. In other words, the concept of raga, which has evolved over a period of two millennia, eludes an adequate brief definition.” – Joep Bor, ‘What is a raga?’, p. 1 in The Raga Guide: A Survey of 74 Hindustani Ragas, Nimbus Records with Rotterdam Conservatory of Music first published in 1999[↩]
Gouri Dange, The Hindu, 11 May 2019 | Read the full article here >>
Every kind of music has a protocol for ‘beginners’ or ‘learners’. Students must practise paltay, alankaras, scales, études, tonalisation exercises, depending on the kind of music they pursue. […]
However, here’s the rub: for many learners, these ‘early’ ragas get translated in the mind as something very basic, or ‘shikau’, with a novice ring to them. They are seen, most misguidedly, as mundane, without the strut and stature of the ‘larger and later’ ragas that are taught after you are deemed fit to learn them. […]
It is surely a disservice to a raga and to those who lift it to its best potential, and even more so a disservice to the young student, to allow the mental stamping of some ragas as ‘learner material’. […]
The novelist, counsellor and music lover takes readers on a ramble through the Alladin’s cave of Indian music.
Purandara Dasa (1484-1564), a prolific poet-composer and mystic of Vijayanagar, introduced a music course that is followed to the present day. Since the 17th century, hundreds of ragas (melody types) have been distributed among 72 melakarta ragas (scales).
Many Carnatic ragas have their counterparts in western Music […] L.S.Ramesh, a Post Graduate from the reputed Indian Institute of Technology-I.I.T.Madras, has designed an Innovative Carnatic Music chakra (Sri Saraswathi 72 Melakarta chakra). […] This chakra requires no prior knowledge and has been appreciated by Music legends Dr. Mangalampalli Balamuralikrishna,Prince Rama Varma, Shri. Garimella Balakrishna Prasad (Annamacharya project Director-Tirumala Tirupathi) and others.
Mr. Ramesh and his wife Mrs. Sridevi use the money generated from sale of this Sri Saraswathi 72 Melakarta chart to help underprivileged children through FACES (Food, Aid, Clothing, Education, Shelter); a Service started by this couple.